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Te Deum is a single movement work for chorus and orchestra. It employs an ensemble comprising the complement of string, woodwind, and brass instruments typically available in a small symphony orchestra with an expanded percussion section. The choral forces are in proportional relation to the instrumental forces are in proportional relation to the instrumental forces and it is sung in the original Latin. The intended performance time is approximately 18 minutes. Temporal aspects of the work are characterized by three contrasting sections. The slow and solemn opening section is given to long stretches of silence sparsely punctuated by low drums. The remainder of the work is texturally more dense and employs a much quicker tempo. A steady core pulse is also a key feature, with attention given to avoiding any regular metrical implications by use offset accents, non-consecutive identical phrase lengths, and a slow harmonic rhythm.

Master of Music / Department of Music / Joshua Oppenheim / Julie Yu Oppenheim / The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions. Chapter I provides the purpose of the study, a brief description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings. Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum. Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations. Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings. Appendix A provides the complete text of the Te Deum psalm with English translations and melody. Appendix B provides a score analysis of Te Deum (HXXIIIc:2). Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).

Title from accompanying document. / Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble. / Digitized by Kansas Correctional Industries

The goal of this thesis is observing the functions that the setting of the text Te Deum laudamus had throughout the musical history, approximately since the fifteenth century. It examines the occasions for which the Te Deum was written by important composers of their times. The study focuses on Czech eighteenth-century music, addressing the lack of research in this period. Works of two important Czech composers of Classicism, Jan Zach and Vojtěch Jírovec, were chosen for edition, which consists in transcribing the works into today{\crq}s clefs and presenting them in scores. The study further deals with the form and style of the selected works.

To summarize in general the use of modes by Vaughan Williams, it could be said that the works that have been analyzed are characterized by frequent use of the traditional modes, but in a very free manner. The "Kyrie" of the Mass, "Pretty Bess," "Jolly Rutterkin" and Te Deum are confined somewhat closely to given modes, with some changes of mode, changes of tonality and use of altered chords. The "Gloria," "Credo," "Sanctus," "Osanna I," "Benedictus," "Osanna II" and "Agnus Dei" of the Mass, however, contain many striking chromaticisms. These chromaticisms are the result of use of many altered chords, a good deal of modulation and much combining of modes, often with startling cross-relations. The use of seventh chords in "Pretty Bess," "Jolly Rutterkin" and Te Deum further complicates the picture from that of the sixteenth century.

A collection of music created mainly in the second half of the 18th century and the first half of the 19th century was found at the choir loft of the Cathedral of St Nicholas in Budweis. Jáchym Štěpánovský and J. N. Vocet were two local composers and choir administrators who primarily helped to create this music collection. Jan Nepomuk Vocet who used to work at the choir of St Nicholas Cathedral was a significant person. He belongs to a lesser - known group of composers at the turn of the period of Classicism and Romanticism and that's why I chose him as the main topic of my diploma theses. The aim of this work is to evaluate Vocet's influence in Budweis music scene, to give an idea of his church music, popularize the chosen pieces of his music in edition and analyse it in detail.

Johann Gottlieb Naumann ist die bedeutendste Persönlichkeit der Dresdner Hofmusik in der zweiten Hälfte des 18. Jahrhunderts. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend erhielt er bereits als Sechzehnjähriger in Italien eine gründliche musikalische Ausbildung u. a. bei Giuseppe Tartini und Padre Martini. Nach seiner Rückkehr nach Dresden übertrug die hochgebildete Kurfürstin-Witwe Maria Antonia Walpurgis 1764 dem 23jährigen das verantwortungsvolle Amt eines Kirchen-Compositeurs. Sachsen hatte sehr unter den Einschränkungen nach dem Siebenjährigen Krieg, dem Verlust seiner politischen Bedeutung in Europa und seiner wirtschaftlichen Kraft zu leiden, als der junge Naumann seine Tätigkeit aufnahm. Nach zwei weiteren Italienaufenthalten im Auftrag von Maria Antonia Walpurgis (1766 bis 1768 und 1773 bis 1774) wurde er 1776 zum Hofkapellmeister berufen. Im gleichen Jahr erhielt er vom schwedischen König Gustav III. den Auftrag, die Hofmusik in Stockholm zu reorganisieren, was ihm nach seinen erfolgreichen Dresdner Reformerfahrungen glänzend gelang. [... aus der Einleitung]